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The Zurich Trial, Part I: Witness for the Prosecution. 2009

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Dutch artist MARCEL VAN EEDEN produces at least one drawing every day since 1993 that he posts on the internet and also incorporates into his large-scale series. These extensive series of drawings – predominantly black-and-white drawings – combine real biographies with fictional narratives. His sources are photographs, many of them taken from newspapers or magazines dating from before 1965 – the year he was born. In this way, VAN EEDEN undertakes an almost encyclopedic exploration of the world of his parents and grandparents, a world he could not experience with his own five senses. In his choice of subjects, however, he deliberately avoids well-known historical events or locations, focusing instead on everyday places and banal situations which he reformulates and subordinates to his own visual narrative.

“Witness for the Prosecution” has been shown for the first time as a complete series (it comprises 150 drawings) at the Hamburger Kunsthalle. MARCEL VAN EEDEN has developed a special form of presentation for this new series, creating large-scale wall drawings that not only provide a striking backdrop for the works on display but also break down the traditional notion of exhibition hanging (exhibition view here).

And good news, he will presented his work “The Sollmann Collection” in Basel at Baloise Kunstforum during 6 months (jun 16- nov 2010)

L’Homme Ballon, series Jardin de la Femme. 2009. Lambda print on plexiglass

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Mirror | Mirior, series De daughters of Mnemosyne. 2008. Lambda print on Plexiglass

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Ihmra, series De daughters of Mnemosyne. 2007. Lambda print on plexiglass

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DINDI VAN DER HOEK has developed a photographic portfolio with unique images which, for the greater part, are shot under water.

At first glance her images may seem fairytale-like, but in reality her work is thought provoking and complex. Through her camera lens she allows us to have a look into a mysterious almost unconscious world, where multiple interpretations may co-exist: “I transform these human figures by dressing them in clothing that resembles a mythical or fairy tale world. As I have a background in fashion as well (MBO graduate in Fashion and Clothing in 1995) I am able to design and make these costumes myself. This allows me to manipulate them to the intentions of my photographic work.”

It reminds me the work of CONNIE IMBODEN

The Return of John Frum by CHRISTIAN SCHLAEFFER

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“The Return of John Frum” is really something that you can’t miss if you like animations and short films. Primarily this piece is the thesis project of CHRISTIAN SCHLAEFFER at the University of Applied Sciences Augsburg (Germany), faculty for design, 2010.

For the story, John Frum “returns as an astronaut and businessman to the postindustrial wasteland of the financial service economy. Together with a native, he sets out for a conquest of the useless; then things get confused, and what begins as a journey turns into a trip far off the boundaries of logic and meaning.”

I’m absolutely blown away by the brilliance of this work. Bravo CHRISTIAN!

And for more information and free downloadable 1080p version visit schlaefferdesign.de/john-frum

Loose works, in some ways connected

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3 Roses, 9 Ravens, 12 Months. Slovakia. 2008

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It’s like a jungle sometimes, It makes me wonder. New York. 2009

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The Black Hole. book. 2004-2006. i.c.w. ANOUK KRUITHOF

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for Kilimanjaro Magazine. London. 2007

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Hyeres. 2007. commissioned of the city

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WFW loves Dutch photographer JAAP SCHEEREN because his work is just fresh. Humour is a key element in his work but without relinquishing the underlying seriousness or sincerity of his intentions.

Graduated in 2003 from the Academy St.Joost in Breda, he recently participated in the group show “Dutch Seen: New York Rediscovered” in The Museum of the City of New York ( curated by KATHY RYAN, Photo Editor of The New York Times Magazine) and in two exhibitions on Dutch photography in the Netherlands: “- in reverse _ Foam”,Fotografiemuseum Amsterdam and “Quickscan #1”, Nederlands Fotomuseum.

JAAP SCHEEREN lives and works in Amsterdam. He has published three books, ‘The Black Hole’, 2006, ‘Oma Toos’, 2007 and ‘3 Roses, 9 Ravens, 12 Months’, 2008.

Enjoy!

from “Prabérians” series

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from “Behind the smiles” series

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from “Behind the smiles” series

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from “Prabérians” series

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from “Prabérians” series

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THOMAS ROUSSET is a French photographer freshly graduated from ECAL (university of art and design in Lausanne). He likes to mix document and fiction: “Prabérians takes roots in a dialogue between my rural origins and my creative process as a photographer. These images came out of a fantasy; that of a fictive rural community, lost in space and time, evolving in a dream-like French countryside.

My photographs are not following a defined narration; every mise-en-scène rather tries to rebuild my memories of a rural world where the farmers’ routine is confronted with the most exotic archetypes of the peasant life.The real world is my inspiration. I make photographs with the inhabitants of my village and their animals and re-locate them in a floating reality that is timeless, unlikely and intriguing; a reality that is a blend of a raw normality and absurd exuberance.”

Oh, and don’t miss his website, it’s full of good projects!

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Three facts about photographer MIKAYLAH BOWMAN:

1. She is around twenty years old
2. She lives in Texas
3. She doesn’t own a proper website but she has got a lot of links:

http://www.flickr.com/photos/mikaylahbowman

http://fjordphoto.org/mbowman/

http://millineries.blogspot.com/

Yeah honey, it’s time to click!

Dead in Black and Red. Pen and Ink. 30″ x 20″. 2007

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Poker. Pen and Ink. 15″x 20″.2009

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Sleeper Keeper. Pen and Ink. 20″x 15″. 2010

Bearing Up. Pen and Ink. 14″x 11″.2010

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Toxic Appendage. Pen and Ink. 30″ x 20″. 2008

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Gesture. Pen and Ink. 10″x 8″. 2010

Propped Up. Pen and Ink. 20″x 15″. 2009

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Icarus. Pen and Ink. 15″x 20″. 2009

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Through ink drawing and small sculptures, JOHN CASEY creates deformed creatures which are in fact a series of psychological studies of the artist’s inner psyche in all of its multifaceted incarnations: ” My creatures are called monsters by some, but I often feel that the connotations associated with “monster” don’t always apply to these little guys unless one can add descriptors like “vulnerable” and “fragile” to the definition of monster. Maybe I have issue with the monster moniker because I see my critters as self-portraits. Nick Capasso, director of the DeCordova Museum, once referred to my work as ‘little exorcisms’ and I like that description. The idea that I expel my inner demons in the form of drawn, painted, or sculpted critters appeals to me.”

JOHN CASEY lives and works in Oakland, California.

Enjoy!

The reason of life. 1998. c-prints. 56.5 x 37.5 cm

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Japanese photographer and performance artist NORITOSHI HIRAKAWA often portrays attractive young women performing some sort of titillating sexual act. His work questions the prejudice and hostility towards male heterosexuality today. According to HIRAKAWA the so-called sexual revolution is over and all is lost. Sexuality is stil and will forever be viewed as a cardinal sin: Although sexuality is non-institutional, it possesses at the same time a quality found both within and without institutional life. In our institutional lives, this quality produces a division of the human being into two images: the one public and the other private.  When the private image, one’s own sexual attraction, is censored in the public realm, while at the same time printed information about a person from familiar surroundings is provided in place of the missing criteria, the question arises as to how the observer would react to the new image of the person.

The result is quite possibly the temptation to establish a personal relationship with the person if the observer has the means with which to deal with the censorship on his own.

NORITOSHI HIRAKAWA lives and works in New York

view more at www.deitch.com

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A minimal colour palette + a perfect mastery of BIC pens = the amazing work of French illustrator CARINE BRANCOWITZ

Don’t miss her portfolio: http://www.carinebrancowitz.com

Yumè. All elements in the film, including the music, are the work of SHUNSUKE SAITO

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Motion graphics designer SHUNSUKE SAITO was born in 1984 in Japan. Upon graduating from Tama Art University in 2008, he began working in a company producing television commercials. And since then he has received many awards, including the Special Jury Prize in 2006 MTV SO-ZO Competition, Station ID division; 2007 Grand Prix in World Doga Grand Prix 2007 sponsored by Parco City; 317th and 340th NHK Digital Stadium, Best Selection; 10th TBS DigiCon6 Awards, Encouragement Award; Finalist of the 9th NHK DigiStadium.

SHUNSUKE SAITO is currently a freelance producer and animator.

Refreshing! (psst. HD widely recommended)

Language Is Not Transparent. paint and chalk on wall. 72 x 48 inches

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Language Is Not Transparent. paint and chalk on wall. 72 x 48 inches

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Notecard (No thought exists…). 1969. ink on notecard. 5 x 8 inches

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Obsolete. 2007. ink on paper. 11 x 8.5 inches

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Language is not transparent. 1969. Rubber stamp on paper.  7.25 x 6.75 inches

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Language is not transparent. 1969. Rubber stamp on graph paper. 9.75 x 7.25 inches

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American conceptual artist MEL BOCHNER was one of the first artists in the 1960s to introduce language into the visual field. His works range from installations to drawings, prints, and paintings. Preoccupied by language and its influence on vision and perception, he has shifted from a more analytical use of language to an exploration of the way in which color diverts a text from its duty to convey meaning. As a result, language becomes a tool in BOCHNER’s interrogation into how an object—be it a painting, sculpture, mathematical equation, or a complete replacement of the “object” with language itself—can function as a work of art.

Although his manner of painting results in paint drips, smears, and layers that create a textured surface, MEL BOCHNER’s insists on a rigorous drawing style which aims to display his thought process: “make the emotion as visible as the thought.”

Sulki & Min: Factory 060421-06053. Poster for their first solo exhibition at Gallery Factory, Seoul, 21 April – 13 May 2006

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Sulki & Min / More & Less.  poster for a design Lecture

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Functional Typography. Poster series, silk screen on uncoated paper, 840 x 1188 mm each, self-published, 2006

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detail of Bubbles. poster for Koh Jiyeon’s gayageum concert, Seoul, 2007, 594 x 841 mm

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Tongue, Liberated! Catalogue for the exhibition ‘Tongue, Liberated!’, Arts Council Korea Insa Art Space, 2007. Paperback, 188 x 180 mm, 120 pp

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Seoul based duo SULKI & MIN do beautiful work for publication, brand identity, installation and web.

SULKI CHOI and MIN CHOI met in 2001 at Yale University where they were both students of the MFA graphic design program. Since then, they have been working together on various commissioned as well as self-initiated projects. From 2003 until 2005 they were researchers at the Jan van Eyck Akademie in Maastricht, where they participated in a research project for the cultural identity of the city of Leuven; designed the academy’s various publications and promotional materials; and together with Tamara Maletic and Dan Michaelson, designed the exhibition Welcome to Fusedspace Database at Stroom Den Haag. Currently back in Korea, SULKI is working on an artistic-publishing program as publisher of Specter Press (KR), and MIN is teaching as full-time lecturer at the University of Seoul.

Amazing inspiration!

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found via http://butdoesitfloat.com/

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In March/April 2009, FRANCOISE HUGUIER spent a month and a half in residency in Singapore to develop her latest series of photographs, focusing on the inhabitants of Housing Development Board (HDB) estates in Singapore, titled Don’t Move.

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Travelling the globe and documenting her adventures in books, FRANCOISE HUGUIER is one of the great reportage photographers.

Aside from travel, FRANCOISE HUGUIER is famed for her backstage fashion show images. Her practice in fashion begin with her photographies of “les défilés” (the fashion shows) that she follows live twice a year from backstages and workshops. These photos have appeared in the daily newspaper “Libération” for the first time in 1983. Artistic managers from such well known magazines as Vogue, the New York Times Magazine , ID, Women’s Wear, Marie-Claire and DS, then ordered her numerous fashion reportages (she also shot advertises for Mugler, Lanvin, Lacroix, etc.).

And she also enjoys experimenting with film: her short film Journée Ordinaire was shortlisted for the Cannes Film Festival in 1990. She has also collected honoraries for her photographs – including the World Press Photo Prize in 1993, and the Kodak Prize back in 1986. Passionate about her work and Africa, she organised Africa’s first Biennale of Photography in 1994.

She is a brilliant all-rounder!

from the series “Return to Flesh : Erik Tideman”

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from the series “Return to Flesh : Erik Tideman”

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from the series “Youth gone wild”

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from the series “Youth gone wild”

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LINN HEIDI STOKKEDAL is still studying photography at Norwegian School of Photograph but I can predict her a great future!

LINN HEIDI STOKKEDAL, I like you and your ideas about tattoos: “I think tattoos can express beauty and personality, and it´s like a piece of art painted on me. It doesn`t have to mean anything, it just has to look beautiful or cool. People have always questioned my priorities, whether my money should be in a savings account or something and not be spent on a lot of ink. My view on tattoos is one of the better investments you can make, and one of the few that you bring with you to the grave.”

Keep up the good work!

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Thank you LINN HEIDI!

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-. 30 x 30 cm. gouache, pencil, gesso on paper

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EVA EUN-SIL HAN uses collage as a means of artistic expression. In her work she combines material from newspapers, magazines or old books. She prefers to use knife and glue rather than working with pixels on a computer screen, because it allows her to touch, feel and smell the different source papers. Especially old paper smells good to her.

“My work has involved the creation of conceptually based psychological objects and I use many geometric lines which helps me express my subconscious mind. We can see people’s face emotions but how about if we can measure their emotions through shapes of geometry. Our emotions play an important role throughout the span of our lives because they enrich virtually all of our waking moments with either a pleasant or an unpleasant quality. I was wonder if we can measure our emotions with shapes of geometry.

To realize this emotional state in geometric shapes, I use many other type of colors and patterns papers cutting out images from magazines or vintage books using collage technique with mixed media such as oil painting or an acrylic.”

EVA EUN-SIL HAN (born in Kangwondo, Korea South) lives and works in Brussels, Belgium